Talia Ryder | Expectations Zero. Prepare for the Lift-Off.
Featuring Saint Laurent by Anthony Vaccarello Fall 2024 Collection, Via Issue 194, The Close Encounters Issue

Ethereal and understated, Talia Ryder is indie movie catnip. Over the past few years the 22-year-old has become a main stay on the festival circuit, but you needn’t be a cinephile to recognize her. Ryder has also starred in a spate of commercial hits, from Do Revenge to West Side Story. Oh, and she portrayed Olivia Rodrigo’s replacement-cum-obsession in the music video for “deja vu,” which has been viewed a not-so-modest 462 million times on YouTube (“Oh my god, yeah, she’s the sickest,” Ryder says of the Gen Z pop icon.)

But despite a 450k Instagram following, where she uploads a steady stream of film promos, candid lo-fi life snaps, and photos of her at the MET Gala, Ryder’s not so famous that she can’t sit under some railings in SoHo, New York, to keep an eye on her friend’s bag. This is precisely where she’s perched when she pops up on our Zoom call above the screen name “Nicholas Cage.” She’s channeling Indie Sleaze: her hair falls around her in unmade waves, her face is eclipsed by giant aviator sunglasses, and she’s wearing an oversized T-shirt. She has no makeup on, save for her nails: one hand is painted hot pink, the other, blue. She fights to be heard over the wind and traffic on an unusually blustery August day, having lost her AirPods the day before. (“I think the wires are way chicer,” she reassures me, when I tell her I lost mine too.)

Born and raised in Buffalo, a port-town in New York State, Ryder moved to the city almost a decade ago when she and her sister were cast in Matilda the Musical on Broadway. Today, Ryder looks right at home in SoHo, and like every East Coast-raised artiste, is quick to pledge her allegiance to the city.

A few years after Matilda closed, Ryder was cast in Never Rarely Sometimes Always, a sobering independent film about abortion in America. The film sees Ryder’s character Skylar and her cousin Autumn travel to New York from rural Pennsylvania to procure Autumn an abortion without parental consent. Ryder’s was a poignant performance The New York Times described as “touchingly delicate.”

Not long after the film’s release, Ryder (if momentarily) switched gears, and was cast as part of the ensemble in Steven Spielberg’s remake of West Side Story. Then came commercial Netflix teen movies Do Revenge and Hello, Goodbye, and Everything in Between. Her maestro moment—and the film she’s most eager to talk about—however, was her role in The Sweet East, a picaresque satire directed by Sean Price Williams.

The Sweet East follows a manipulative, pseudo-innocent teenager as she traverses across the East Coast, trying on life for size with a trust fund of radicals—a Humbert Humbert-esque neo-Nazi professor, two pretentious cineastes (played by Jeremy O’Harris and Ayo Edebiri), and an Islamic extremist faction. “I just had this feeling that no one else could play Lillian, like that was mine—a sense of ownership or something,” she recalls of when she first read the script. “You get a crush on a character.” The Sweet East grapples with America’s socio-political climate, this time via gun violence and political extremism. Inevitably, it sparked some controversy, accused by The New Yorker as “playing fast and loose with the politics of hatred.” I ask if a difference in outlook would ever deter Ryder from a role. “Yes and no. But I think the really cool thing about movies and art is that the point is to disagree, and the point is to just start conversations. I think that’s also something that I really like about The Sweet East is that Lillian’s really a listener, she hasn’t figured out any of her opinions yet and she’s just listening, which is what I feel like no one right now is doing,” she answers. True to a 20-something English speaker, Ryder peppers her sentences with “like” and “kind of,” but comes of mature and considered despite having only graduated from high school in 2020, and as someone who takes their craft seriously.

Ryder tells me that she received some critical feedback after playing Lillian, a character who gets by, at least on the surface, on her looks and feminine wiles. “It was interesting to have conversations with those people and be like, ‘Wow, I completely disagree…She always has the upper hand,’” she muses. But bar encouraging naysayers to “give the film another watch,” Ryder is generally unperturbed by criticism. “It’s cool. I like disagreements and it’s cool to talk about and fight about things in film…I think growing up with the internet, like, hate comments, [don’t] really bother me. I think it’s pretty funny. I don’t know. It’s all pretend. Also, half those people, if they meet you in real life, wouldn’t say any of that. People get behind their screens and feel so big, so it’s just kind of whatever,” she says, nonplussed.

The commentary Ryder particularly enjoys comes by dint of Letterboxd, an app where film buffs review the movies they’ve seen, usually via plucky, internet parlance-heavy one-liners. “It’s like an Instagram comment section for movies,” she explains. Indeed, after a cursory scroll through The Sweet East’s page I can understand why she gets a kick out of it. “Vapes guns something something America” one user baldly surmises. “She’s so coquette female manipulator lana del rey vinyl,” quips another, of Lillian.

Ideological difference and propensity for criticism may not deter Ryder from a role, but a badly written character might. “Honestly, there’s a lot of stuff I read that I don’t even want to pursue because it’s…it’s…” she hesitates, not wanting to mince her words, “still people write girls a little funny. It’s still kind of old-school the way some of these scripts are written and the role that they’re making the young woman in the story play. It feels…” “Archaic?” I offer. “Yeah, really archaic,” she agrees.

But one script that was a resounding yes for Ryder was Little Death, an experimental psychodrama about the opioid epidemic starring Dominic Fike, Gaby Hoffmann, David Schwimmer, and Seth Green. I note that this is not the first time one of Ryder’s films has weighed in on America’s social problems. “I’m really drawn to projects that have something to say. Or even don’t really have something [but] that make you think about these things, cuz I mean, it’s what we’re living in right now. I think that plays a big part in the projects that I choose,” she explains. (Ryder has a post dedicated to safe abortion information on her Instagram profile).

In Little Death, Ryder plays Karla, an unmoored good-time girl who succumbs to addiction. It was a character she instantly fell in love with. “For someone that hasn’t fit in really anywhere or found her passion or joy in life, finding she has these friends and these drugs that she loves that make her feel connected to something and alive; it’s really hard when you know that that’s what’s hurting you and that’s killing you, but it’s also keeping you going. It’s a really sad and tricky cycle to get in and for

different reasons I really relate to that feeling…Karla’s the type of person where you don’t really see her on her phone and she’s experience-driven and she likes talking to people, and she likes partying and she just really puts herself out there, and just doesn’t get really anything back from the world, and I don’t know…It’s just, it be like that sometimes,” she says with a knowing laugh. “Sometimes you get no help.”

One might be forgiven for thinking that Karla’s plight isn’t something someone surrounded by family (“I have some good advisors. MiMi and Tre, they keep me in check,” she jests about her siblings) and hyper-success before they could legally drink could relate to. But although Ryder is grounded and firmly on the right path, as an actor, she’s somewhat familiar with how it feels to put something out there and not get much in return. “It’s hard not to get attached to something that isn’t yours,” she says of auditions that don’t go her way. “I feel like people don’t know how much rejection you face. I mean, just being an artist in general is so much rejection.” But, she counters, “a little rejection’s good. It makes you grit your teeth and do a better job next time. Or if I don’t get something, [it’s] like, ‘Oh shoot, I gotta write some more…I just gotta make my own.”’ (It’s an increasingly common lane-switch for young actresses navigating a precarious industry.)

And written, she has. For the past few years, Ryder has been working on a ballet movie about growing up in the city, which she’s planning to direct with her sister MiMi. So, how has she found the shift in medium? “Writing is a totally different thing. I think I’m just so comfortable performing, and that’s a very intimate thing, but writing feels even more intimate in a way.” Being on the other side of the casting table, too, has granted her some newfound perspective on the audition process. “It’s really impersonal, and you’re just trying to make your story come to life and your truth,” she observes.

While Ryder insists her only idol is Madonna, she admires acting work of Natalie Portman. “That makes sense,” I say, “You’re both quite still and understated.”

“I’m definitely not an understated person though, so it’s funny!” she retorts. Ryder makes a fair point, as an interviewee, she is animated and chatty in a way that a lot of her stoic characters are not. “When I was younger, I guess before Never Rarely Sometimes Always, I had been watching a lot of Natalie Portman movies. I just really fell in love with her honesty on screen. That’s the cool thing about movies, you get to watch people have these really private moments that you don’t really normally get to witness. I just feel like the way she—there’s just an honesty. I don’t know how to describe it other than honesty.”

Speaking of industry legends, as our call comes to a close, I work up the courage to ask Ryder why her Zoom name is Nicolas Cage. She bursts out laughing, “Oh!” she exclaims, apparently anticipating a more serious question. “I made my iCloud that in high school to AirDrop people on an airplane, and that’s my username now. Yeah. I mean, he’s the GOAT,” she explains. Now, however, when she’s hopping in and out of Zooms with Cage’s peers (like Ethan Coen, director of Honey Don’t! which Ryder stars in), it’s “kind of embarrassing.” But, as ever, she doesn’t let it faze her. “I think it’s kind of funny now.”

Perhaps it’s precisely this unflappable mien that gives Ryder her edge. She’s grateful to be here, (“I just didn’t expect this to be my life,” she admits) but she can see the humor in it all and isn’t counting her proverbial chickens before they’ve hatched. In her own words: “I have a lot of goals, but I have no expectations. I’m down for anything.”

Source: flaunt.com

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Talia Ryder Says Yes to Adventure
The twenty-one-year-old actress, who stars in the indie romp “The Sweet East,” on her early years as a child performer, making meaningful art in a man’s world, and why Madonna is her role model.

The first time I became aware of the actress Talia Ryder was while watching the 2020 independent film “Never Rarely Sometimes Always.” In the movie, directed by Eliza Hittman, Ryder plays Skylar, a small-town Pennsylvania teen who travels with her cousin to New York to help her procure an abortion without parental consent. Ryder was only sixteen at the time, but the subtlety of her performance in Hittman’s sensitive, downbeat film is striking, all the more so considering that it was her first dramatic acting role. Born in Buffalo and raised along with two younger siblings by her mother, who is a doctor, Ryder was a child dancer who got her start onstage when she was twelve, playing Hortensia in the Broadway musical “Matilda.” Her family moved to New York City for the musical, and Ryder transitioned to screen acting, first in Hittman’s movie, and then in a variety of projects, among them blockbuster fare like Steven Spielberg’s “West Side Story” and the Netflix comedy “Do Revenge.” (She might be most familiar to Gen Z audiences, however, for playing Olivia Rodrigo’s doppelgänger in the music video for “Deja Vu.”)

Recently, Ryder, who is now twenty-one, returned to indie movies with a lead role in “The Sweet East,” the cinematographer Sean Price Williams’s directorial début. In the film—a no-holds-barred picaresque romp, written by Nick Pinkerton—Ryder plays Lillian, a South Carolina teen whose good looks and ingenious manner allow her to glide from one American subculture to another. (She meets a slew of colorful characters along the way, played by actors such as Jacob Elordi, Simon Rex, Ayo Edebiri, and Jeremy O. Harris.) Earlier this month, I met with Ryder at the Odeon, in Tribeca. She was sporting long neon-green nails (“They actually really inconvenience my life, but I look down at them and they make me so happy,” she told me) and was on her way to the Roxy Cinema to see Ronald Bronstein’s American indie mainstay “Frownland,” which Price Williams was introducing. Over French onion soup and chocolate pudding, we discussed the perils and boons of being a child performer, the omnipresence of the male gaze, and her desire to make art that is meaningful. Our conversation has been edited and condensed.

When did you start dancing?

I took my first dance class when I was about three. By the time I was eight, I went to one studio that was very strict ballet training, and I also did contemporary dance at another studio, where I joined the team. In seventh grade, I was dancing for twenty hours a week. It was really intense, but I loved it. My younger sister, MiMi, loved dancing, too. We would do “The Nutcracker” every year. Our little brother, Tre, would also want to be included, so he’d be like a bonbon or a piece of candy.

What was it about dance that you liked?

I hated training, the rigorous standing at the ballet barre for hours doing drills over and over, though obviously you need that, but I did love performing, and being part of a team with a group of people doing the same thing. It’s not unlike being on a movie set. I also had an easier time making friends at dance than in school, where I was very quiet, and not very social.

You do seem a bit shy, which is surprising for an actor.

Don’t get me wrong, I love being the center of attention. [Laughs.] But I always had an easier time expressing myself when I was performing. In social situations, I prefer listening to people. It’s more interesting than talking.

How did it come about that you moved to New York?

The summer going into seventh grade I’d been in the city doing a dance training convention, living at my uncle’s, and the casting director from “Matilda” came in to give a workshop on what an audition for Broadway would look like. She taught a segment from “Revolting Children,” which is one of the numbers, but she explained that if you were to really audition for the show you’d have to get a song prepared, and then they would probably give you a scene, and you’d have to show up for an open call.

Did that seem immediately attractive to you?

No. [Laughs.] I was, like, wow, that seems intense. But then my grandmother took me to actually see the show, and I had the craziest feeling, like, I should have auditioned for this. It was so dance-heavy, and there was singing but the kids were all singing together, and it just seemed like so much fun. The choreography is a lot of fight choreography, a lot of sharp staccato movements, a lot of punches and grunts, and I had never seen that type of dance before. I was like, that is what I want to do now. I remember leaving the theatre and going home and then that night researching the next open call and showing my mom: Can we drive to New York City on October 5th so I can go to the open call? And she agreed. My mom is a quiet lady, but she’s always up for adventure.

What was that first audition like?

We got there, and there were probably, like, six hundred kids, and we waited all day, over ten hours, and I eventually got to dance. They taught us two numbers. I can be really hard on myself, not so much now, more so when I was younger, but I was in such a horrible mood after, because I thought I did a bad job. I was acting like a little demon. And I remember my mom being, like, “You need to snap out of this, this is so bad, and you’re not doing this if you’re going to act like this.” I did get a singing callback, and then there were four more callbacks after that, but I heard nothing. And, meanwhile, MiMi had also gone to the first “Matilda” audition—she was nine, and then they asked if she’d come back and audition again for the role of Matilda. She ended up getting cast first, and that’s when we moved to the city. Then the girl who had the part that I ended up getting was going to be too tall, and they asked if I’d come back and audition again for that part, and I got it.

There’s a height limit, that’s the thing. I was really close to not being able to audition. Four-eleven was the cutoff, and I was four-ten and a half. That’s why I was, like, I need to audition now, because I’m going to get taller and I’m not going to be able to do it in a year.

You had to be below four-eleven? What happens if during the run of the show you get taller?

The ensemble kids worked on contracts that would be renewed every six months. If you get too tall, then they don’t renew your contract when the six months are up. You’re booted.

Wow.

It’s harsh.

In retrospect, did you understand what you were getting yourself into?

Totally. I watched kids and their moms show up to this audition and I got the vibe that everyone in that room, or a lot of these people, this is what they do. They have their books with their headshots and résumés, it just seemed so normal to them. And I wanted to be like them. I was, like, I’m getting my binder, I’m going to go get my headshot, I want to do all this. I was aware.

You seem well-adjusted, and you have a mother who is supportive and has her own career, but it still strikes me as incredibly hard to deal with all this stuff emotionally as a child. These are adult-y problems.

I had to deal with a lot of adult-y things from the time I was little, having a single mom and stuff. So I feel like I was ready for that. I wanted more responsibility, I wanted to work, I wanted to dance, and “Matilda” was an opportunity to do that. It just clicked. But no, it was crazy, the things that parents of other children would say to me. I had a dad come up to me and say I looked like a monster I was so tall.

What?!

I ended up getting renewed twice, and by my second renewal I was definitely too tall to be in the show, but doing a show with kids, there are a lot of behavioral issues, and if you had good behavior that went a long way, like with any job. And I took it really seriously. But some parents got really nasty toward the second renewal. It was really weird, especially the fathers, which was even weirder—they were always commenting on my height, my weight, even. I had a girl telling me, “It looks like you’re growing boobs. You can’t play an eight-year-old if you have boobs.”

And during that time, I really didn’t want to grow up. I was thirteen and fourteen in the show, and I did start getting boobs. It’s hard enough [without being an actor]. I was embarrassed. It separates you, and you’re this other thing, you’re not the same anymore. There’s a whole different set of eyes on you when you become a woman, and there’s so much more that comes with being a woman than with being a thirteen-year-old.

What happened after “Matilda” closed?

There was no way I was going back to Buffalo. I would have had to have been dragged out. And my mom, too, really liked living here. So I enrolled at Professional Children’s School, and they have a really amazing Broadway scholarship. If you’d been on Broadway, the school can be pretty much free if you need, and it’s a private school, and I wouldn’t have been able to go otherwise. So through high school I started auditioning for films.

How was it transitioning from dancing to acting?

I did really want to act, but I didn’t really know if I was good. I was going on auditions because I wanted to do it, and I started watching more movies, being in the city, and going to Metrograph and different theatres. I wasn’t sure it was a possibility. And then I got an audition for “Never Rarely Sometimes Always.”

Did you make a conscious decision to try for indie movies rather than big-budget ones?

No. Around the same time, I was auditioning for “West Side Story,” which was more similar to the “Matilda” audition, a huge dance call, and Spielberg was there. I showed up and it was everyone I’d grown up watching with my mom on “So You Think You Can Dance.” Just the best of the best. I was texting my mom, “I think this is a waste of time.” But I ended up getting the small role of Tessa, Baby John’s girlfriend. Those auditions are really fun. Not if you get cut, of course, but the adrenaline of hearing your name is like. . . . I don’t know if I’d want to do it again, but I remember it fondly.

Doing “West Side Story” was incredible. I was only in one dance number, and there were so many moving parts, it was a huge scene. Spielberg was very present. You understand how someone like that is the greatest of all time. It was so amazing seeing him stage a shot, go back behind the monitor, and then ask whoever was sitting there, “Did that look cool?” He’s so kind and curious and open.

“Never Rarely Sometimes Always,” of course, was a much more modestly budgeted project.

I like working on movies like that, where the director really has control of the product. This was the case with Eliza, or now with Sean [Price Williams] on “The Sweet East.” I’ve worked on projects where the producers are making really big calls, and to make a choice you have to ask a bunch of faceless people what they think, and I prefer working in an environment where it’s the director’s show. Being on “The Sweet East” made me realize how much I love having a hand in the story that I’m telling. They looked to me for a lot of advice and big decisions about the character in the film. It was the type of collaboration that was very unusual, and I loved it.

You’ve also done a play recently.

Yes. “How to Defend Yourself,” by Liliana Padilla. A very sad play, but a beautiful play. We did it at the New York Theatre Workshop. It’s about an assault that happens on a college campus, and how my character and another character who are in a sorority with the girl who was assaulted create a self-defense course to try and open up dialogue about sexual assault. I had to learn Muay Thai for the role. A lot of it was about gender violence and feeling unsafe in your body.

Are these concerns that preoccupy you? Obviously, “Never Rarely Sometimes Always” has to do also with the body of young women, women’s rights on their body, and feeling unsafe.

It’s definitely something I think about a lot. As a young actor in a woman’s body, you have to deal with the fact that it’s still a man’s world. As much as things have changed, you’re always going to deal with people who think you’re an idiot, or who don’t pay you any mind because of your age, or who are judging you for your body. As a woman, you always feel like you’re like a subgenre of being human. In a way, though, sometimes I like being underestimated and I like people thinking that I don’t know what’s going on, because they’ll say more to me or let their guard down more.

Are there certain actors or performers whose careers you see as a potential model for your own?

I really admire Madonna’s career in a lot of ways. Not that I see myself on that same trajectory, but she just put herself in a position where she could do whatever she wanted. She literally was her own boss. When she wanted to do movies, she did movies. And she made music, and her music videos really had a voice in art and culture, they were so powerful. Just her sense of self. Even when she wasn’t huge, she was never soft, and she was controversial, and people hated her, and she was raunchy, and she just did what she wanted. And I’m a very different person, but I would like to be on a path like that. We have the same birthday, actually. And she was a dancer.

In the prime of her career, Madonna was playing with the expectations people have of attractive young women. And I think “The Sweet East” has some of this. Being an attractive young woman affords Lillian a lot of mobility between different environments, but it’s in some ways limiting.

Totally. It’s hard to relate to a lot of characters that people in Hollywood are creating. It’s almost, like, a joke at this point, “characters written by men,” but they’re always these quote-unquote layered women. Quiet yet extremely bold, beautiful but don’t know they’re beautiful. I know a lot of women who are beautiful and know they’re beautiful, like Lillian, for example.

But her youth and gender are a complete double-edged sword. She realizes she can just have an easy life, living off her beauty, and it gives her a sense of confidence, but it’s not what she wants.

She knows she’s been watched by men, and that’s who she’s performing for, even in her private moments, which I think about a lot in my life, too. Who am I performing for? But when Lillian leaves at the end of the movie, me and Sean have joked that she’s going to become President. She has a plan.

What’s your plan right now?

I’m writing a ballet about growing up in the city. I’ve started writing songs. I want to direct. A lot more seems possible in the past few months. Maybe that’s just growing up. I hope a character like Lillian makes people want to go on more adventures and say yes to more scary things, and the stuff that I’m writing, too, wants to do this.

Source: newyorker.com

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V Girls: Talia Ryder
A new star in motion

“Motion! Motion! Motion!” Talia Ryder says, when asked to do the impossible: chart her future in three words.

She laughs and, in between soft chuckles, dismisses her previous response. “I’m just kidding.” Make no mistake, however, the misgiving she feels about trying to describe her future is not a by-product of Ryder’s self-doubt, but an expression of all the places she can go. From starring in campaigns for Saint Laurent and her leading role in Sean Price Williams’ debut drama The Sweet East, to making her directorial debut with a music video for Del Water Gap this past summer, the multi-hyphenate is in constant ambulation, shifting between roles with ease. It comes as no surprise that this ever-mov-
ing force entered the art world through a space
where movement was everything—her home-
town ballet studio in Buffalo, New York.

A dancer before she was anything else, Ryder spent summers in New York City, staying with her uncle and dancing at summer intensives. It wasn’t until 2015 that Ryder moved to the city after landing the role of Hortensia in the Broadway production of Matilda the Musical. Here, she found a home in the choreographed chaos, the constant movement of a metropolis. “I like leaving my apartment in the morning and not knowing when or if I’ll ever be back,” explains Ryder. “That’s the fun of it.”

Besides their spontaneous, wandering nature, Ryder loves the streets of New York because they inspire her personal style. Ryder first leaned into the world of fashion at the age of 17 while promoting her film Never Rarely Sometimes Always and Saint Laurent dressed her for the press tour. Since then, she’s become an ambassador for the French fashion house and cultivated a friend- ship with creative director Anthony Vaccarello. “He used his position in fashion to make all sorts of art and bring all sorts of different artists together,” she says. “He’s created a real family— I’ve even met numerous collaborators that I’ve worked with through Saint Laurent.” One of these collaborators was Del Water Gap, also known as Samueal Holden Jaffe, who worked with Ryder on her directorial debut, the music video for his single “All We Ever Do Is Talk.”

The pair met at the Saint Laurent SS23 menswear runway, where Ryder shared her interest in directing. Moving behind the camera has always been a goal for her, and directing Del Water Gap’s video allowed her to bring her filmmaking vision to life–a forward step into new territory. The video, which has nearly 120,000 views on YouTube and her penchant for hazy, muted colors and dramatic lighting. When she posted it, her Instagram comments were flooded with gushing messages and red fiery hearts — the highest of Gen Z praise. Aside from Ryder’s behind-the-camera aspirations—which also include filmchoreography—this star shines in front of the camera also. In The Sweet East, her character, Lillian, takes a strange yet beautiful journey across the Eastern seaboard in along the way by a cast of eccentrics, who represent the astonishing variety of human beings in contemporary society. The film, which Ryder calls “one of the best and most fulfilling creative experiences of [her] life,” is a postcard of perpetual motion. Maybe her initial answer wasn’t so far off the mark after all.

Source: vmagazine.com

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The talent highlighted in Variety’s Young Hollywood Impact Report come from the worlds of film, television, music and digital and all made a splash in the last year. All interviews were conducted before the SAG-AFTRA strike began.

Not many actors make as impressive a film debut as Ryder did in the 2020 drama “Never Rarely Sometimes Always.” Fewer have her luck: after the young dancer saw “Matilda” at age 12, she nabbed her first job in the Broadway musical. “I didn’t consider it acting — the dancing and show inspired me,” Ryder, 20, says. “It was a dream to do everything at once.” Following parts in films including “West Side Story,” she’s coming full circle as a ballerina in “Joika.” She’s directed a music video, hopes to do more choreography and looks for interesting roles, like her impressionable protagonist in Cannes film “The Sweet East” and a GameStop stock buyer in “Dumb Money,” headed for Toronto.

Source: variety.com

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